Mashable

It’s been real, 2015. This year has given us instant rap classics, expertly crafted bubblegum pop, the return of an R&B music icon and surprise albums that still haven’t left our minds.

From the experimental world of Kamasi Washington to the pop-driven notes of Adele, we’ve whittled down the year’s releases to our absolute favorites. Though the last few weeks of December could possibly give us surprise gems from the likes of Rihanna (Anti), Drake (Views from the 6) and Kanye West (Swish) — a la 2013’s Beyonce and 2014’s Black Messiah — please know that if you’re reading this, it’s too late.

Here are Mashable’s picks for the top 30 albums of the year.

30. Honeymoon, Lana Del Rey

Composing engrossing pop songs about depression is a rare gift — but Lana Del Rey seems to churn them out with the ease of someone staying in bed all weekend and never answering her phone. And even though Lana is still a polarizing figure — like cilantro or Benedict Cumberbatch — Honeymoon is her “it’s not me, it’s you” album. She literally closes it with a cover of the Animals’ “Don’t Let Me Be Misunderstood.” Lana just wants to get high by the beach and write songs, man. What’s your damage? Del Rey’s commitment to melancholy is firm. By now, though, she’s (mostly) ditched the biker boys, focusing instead on the heavens. She sounds like a ghost in the attic singing along to Rolling Stones records, too world-weary to introduce herself to the happy family she’s haunting. From the murmur of “Music to Watch Boys To” to the hushed, woozy “Art Deco,” Honeymoon is the perfect soundtrack for a close brush with a space-age cult that happens right before you realize that you’ll never belong anywhere. — Tricia Gilbride

29. Beauty Behind the Madness, The Weeknd

Brimming with sex, drugs and R&B, the Weeknd reclaimed his title as music’s most famous underlord with Beauty Behind the Madness. This album was also a departure from his usual brand of mystery, marking a very public effort to mesh his ear for hellish beats with catchy pop sensibilities (aided by pop maestro Max Martin). The end result was two of the year’s best and most inescapable hits: “The Hills” and “Can’t Feel My Face." Even as he stayed lyrically cruel as ever, the Weeknd created a mainstream, catchy soundtrack for his beautiful, drugged-up nightmares. — Yohana Desta

28. SremmLife, Rae Sremmurd

This album deserves to be played at the highest volume possible. Nearly every track will have you bouncing around the room like an idiot. And brothers Swae Lee and Slim Jimmy’s delivery is as good as their beats — effortlessly cool, clever and charismatic. Tracks like “No Flex Zone” and “No Type” were already pretty big well before the album dropped, but they sit nicely next to equally huge Mike WiLL Made-It moments like “This Could Be Us” and “Come Get Her." This album is Flockaveli levels of fun, marking Rae Sremmurd as one of the most exciting acts in all of hip hop. The brothers do tend to ape some of the genre’s tired and misogynistic trappings, but when they move away from them, they’re a blast. You’ll dance around, rap along and take shots with them all the way until last call at “Safe Sex and Pay Checks.” — Chris Grasinger

27. Summertime 06, Vince Staples

Grim, dense and booming with murky beats, Summertime 06 is California rapper Vince Staples’ brilliant debut studio album. Dark lyricism and pessimistic youth come to a head in one of the year’s most addictively heavy works. Crack open a Sprite and bump “Norf Norf” from the best speakers you can find. —YD

26. Sauna, Mount Eerie

Washington-based songwriter Phil Elverum has been oscillating between lo-fi bedroom folk and experimental noise rock for years, and now it’s all come to an apex on Sauna. This album takes his work with The Microphones and adds the black metal, Angelo Badalamenti and atmospheric elements of his more recent albums, blending them all into one excellent collection. Songs like “Pumpkin”, “Spring” and “Youth” conjure the late nights, noise and poetic beauty that Elverum has been evoking for years now. It’s the perfect album for driving through the Pacific Northwest. If his music hasn’t clicked with you in the past, this is an excellent place to jump in and see what you’ve been missing. — CG

25. Made in the A.M., One Direction

The best One Direction rumor to date — and there have been many great ones — is that Harry Styles lovingly baked Stevie Nicks a cake for her birthday. Made in the A.M. is the musical equivalent of that fabled confection. Post-Zayn, the boys are still singing about loving girls who can do no wrong as they navigate the lightning bolts of youthful lust. In this album, though, their musical leanings toward Paul Simon and Cheap Trick have more room to breathe. It’s a real shame that there may never be a Made in the A.M. stadium tour for kids, chaperones and the increasing number of twentysomethings who identify as Directioners — because One Direction put out the best Dad Rock album of the year. — TG

24. In Colour, Jamie XX

The beats genius behind soft-spoken it band The xx stepped out to create one of the year’s best electronic albums. Jamie xx’s spectral In Colour takes fans through a prism of soundscapes, layers of music worth diving into for years to come. It also boasts features from bandmates Romy and Oliver Sim, as well as rapper Young Thug on the standout track “I Know There’s Gonna Be (Good Times)." -- YD

23. If You’re Reading This, It’s Too Late, Drake

Eleven months later, any assessment of the real Drake based on If You’re Reading This, It’s Too Late is already...too late. We’re in post-”Hotline Bling” mode now, and Drake is a needy goofball closing out the year in a whirlwind of pastels and cozy sweaters. Drake is the Costco of rappers, selling you his woes, beefs and even music in bulk. Since he dropped his surprise mixtape in February, he’s kept busy releasing diss tracks, a mixtape with Future and the viral single of the year — all while claiming to be hard at work on his next official album, Views from the 6. But when he dropped his surprise mixtape back in February, Drake was showcasing a very different Aubrey, right down to its crudely scrawled black-and-white cover. The boy gnashes his teeth and spits disses over sparse instrumentation. He has his boys, and everyone else is a fake soon to be punished for their crimes. “Nobody really likes us except for us,” Drake, the year’s most popular artist on Spotify, insists. Nice try. Then again, why stop playing the victim when it’s working so well for him? — TG

22. The Epic, Kamasi Washington

It's not often that a nearly 3-hour-long jazz album becomes a crossover success. Perhaps L.A.-based saxophonist Kamasi Washington learned a thing or two from working with buzzy collaborators Kedrick Lamar and Flying Lotus. FlyLo uses electronic music to move toward nearly endless sonic possibilities; Kendrick uses hip-hop as a gateway to funk, jazz and beyond. And on the aptly titled 3-disc The Epic, Washington does something similar, using traditional spiritual jazz as the starting point for a journey that hits everything from fusion to funk to soul. There really is something for everyone in this epic, ambitious and extremely exciting triumph of modern jazz. — CG

21. No Cities to Love, Sleater-Kinney

Sleater-Kinney is like the “keep it 100” emoji — not the sort of band that will put out an album or play a show unless they’ve got something to shout. “Ready to climb out from under concrete / Only I get to be sickened by me,” Carrie Brownstein sings on “Bury Our Friends,” charging forward with Corin Tucker and Janet Weiss on their first album in a decade. The trio sounds tighter than ever, with every guitar lick and shriek delivered with precision for maximum impact. They’re not asking if you want to help them conquer the world; grab their hands while they’re running by, or be left behind. — TG

20. Vulnicura, Björk

After making enough classic music to last a lifetime, Björk refuses to stop or dwell on the past. Her best album since Vespertine, Vulnicura — which also enlists Arca and The Haxan Cloak — is a beautiful, artful excursion through mountains of strings and fields of heartbreak. Both lyrically and musically, this album is one of the artist’s most dense and rewarding listens yet. From the gorgeous first track, “Stonemilker,” and onward, you’ll be glad to accompany her on this journey. — CG

19. Unbreakable, Janet Jackson

Janet Jackson still rules the rhythm nation. After seven years of dormancy, she came back sharper than ever with the expertly-crafted Unbreakable, a commanding title fit for someone who’s reigned supreme for over 30 years in the music industry. Smooth and gorgeous, Unbreakable marries Jackson’s ear for classic R&B with modern beats, especially on the dance-worthy “BURNITUP!” — featuring fellow icon Missy Elliot. — YD

18. New Bermuda, Deafheaven

Call it black metal, post-rock, shoegaze, blackgaze, hardcore, whatever — the truth is that Deafheaven has struck a serious nerve with rock fans of all types. The group takes bits and pieces from the genres and styles they love, forming something wholly new in the process. Listening to it is like getting the best parts of Agalloch, Godspeed and MBV all stitched together. New Bermuda sticks to the same formula that made Sunbather such a success. Incredible melodies and guitar riffs pour out of tracks like “Brought to the Water” and “Come Back,” resulting in some of the band's best work yet. — CG

17. Fetty Wap, Fetty Wap

Thank God Fetty Wap wasn’t a one-hit wonder. As an up-and-coming rapper in 2014, he dropped “Trap Queen” — which quickly became the catchiest banger of the year. Fetty Wap follows up on that momentum, delivering an entire album full of infectious trap bangers delivered with Fetty’s signature warble. Earworms like “My Way” and “679” are made to blare at all your friends' parties, next to thicker fare like “Trap Luv” and “Boomin.” Fetty’s got the year sewed-up. — YD

16. Sometimes I Sit and Think, and Sometimes I Just Sit, Courtney Barnett

Courtney Barnett could write witty lyrics in her sleep. The Aussie singer/songwriter dropped one of the year’s most lyrically deft albums, full of sweet guitar riffs and her signature dazed drawl. Standout “Pedestrian At Best” led an electric charge, while the simple strums of “Depreston” put her ability as a wordsmith on soft display. — YD

15. Every Open Eye, Chvrches

Singer Lauren Mayberry is hyper-alert in matters of the heart, taking an analytical approach to her own feelings and the intricacies of her relationships. It’s no wonder, then, to learn that Mayberry got an undergraduate degree in law and received a masters in journalism before “The Mother We Share” thrust her Glasgow trio into the spotlight. But in the hands of Chvrches, this sort of emotional dissection never feels clinical — the tension between the lyrics’ urgency and the bouncing synth-pop sucks you in. On Every Open Eye, the band’s mission statement of compassionate resilience is crystal clear: “You had best believe that you cannot build what I don't need. And I know I need to feel relief.” — TG

14. The Desired Effect, Brandon Flowers

Brandon Flowers and Ariel Rechtshaid have produced one hell of an album — and one of the greatest attempts in recent memory to revive the ‘Eagles’ solo work’ side of the ‘80s. Landing somewhere between Huey Lewis and The War on Drugs, The Desired Effect gives us a perfect balance of cheesiness and well-crafted pop. Ballads like “Between Me And You” and “The Way It’s Always Been” shine, but the more straightforward pop songs like “Can’t Deny My Love” and “I Can Change” also hold their own. It’s a totally radical love letter to a bygone era. — CG

13. Have You in My Wilderness, Julia Holter

Holter takes the sensibilities of a classically-trained composer and translates them into pop for a wider audience. Have You in My Wilderness is probably her most accessible effort yet. The moody, introspective brilliance of Loud City Song is very much alive and well in tracks like “Night Song,” though more pop-oriented tracks like “Feel You” and “Sea Calls Me Home” make up the bulk of this album. — CG

12. Are You Alone?, Majical Cloudz

Majical Cloudz, the Montreal duo of Devon Welsh and Matthew Otto, learned to retool the intimacy of its performances for the masses after Lorde hand-selected Welsh and Otto as her openers. But their intent remains the same: Songs will be excruciatingly personal, or they will be nothing.The duo’s music is as somber as ever, but now it glistens — or at least seriously considers making contact with light one day. Otto’s synths trail the bellowing vocals like a film noir private detective, ensuring contact is never made as the secrets spill out. They repeat the word “love” over and over, as if Welsh worries that it’ll disappear if he stops saying it out loud. On “Downtown,” Welsh makes peace with the extreme: “If I suddenly die, I hope they will say that he was obsessed and it was okay.” As if we’d have it any other way. — TG

11. Blackheart, Dawn Richard

Dawn Richard has shared her voice in a number of high-profile projects (Danity Kane, Dirty Money) — but nothing holds a candle to the sprawling solo effort compiled in Blackheart. Just when she gets you settled, she switches things up, presenting a hyper blend of hip hop, R&B and electronic music. Her deep voice is the only thread tethering you throughout the album. Frenetic, electronic tracks like “Calypso” grip you by the throat, while “Adderall/Sold” take you through a 7 minute soundscape, an auditory wonderland that could only exist in Dawn’s colorful world. — YD

10. 25, Adele

People wondered what kind of music Adele would make once she traded soul-crushing breakups for a loving, stable partnership and a family. The answer, to everyone’s relief: Pretty much the same sort of stuff. Though Adele has a life beyond anything she could have dreamed of, there are still rips in the fabric. Heartache might shift, but it never goes away. She’s nostalgic for old friendships and streets in her hometown. She misses the way love feels when it’s new. She feels the need to make amends in relationships that are long gone. The passage of time, even if it brings better things, weighs heavily on her soul. And yeah, there are still breakup songs, too. — TG

9.Ten Love Songs, Susanne Sundfør

Norway’s Susanne Sundfør takes us on a sonic journey through Italo-disco, synth pop and operatic landscapes. Every part is masterful, from the nostalgic synth and drum sounds to the album's themes of intense love and hatred. Moments like the dramatic centerpiece “Memorial” stand in contrast to songs like “Fade Away” and “Kamikaze,” which could light up any dance floor. Ten Love Songs is a beautiful, sad and triumphant testament to where music can take us. — CG

8. DS2, Future

Future’s got the juice. The year was his for the taking, first with mixtapes 56 Nights and Beast Mode. But it was the sensational, codeine-coated DS2 that kicked the #FutureHive into overdrive. You remember where ya ass was at when the album dropped, when “Thought It Was a Drought” slithered out of the speakers and a low voice murmured “Dirty soda/Spike Lee/White girl/Ice-T.” Oh, and something about Gucci flip flops. It’s mainstream Atlanta trap at its hardest, a dark look Future’s world of drugs, groupies and Gucci, all executive produced by righthand man and certified hitmaker Metro Boomin. — YD

7. Carrie & Lowell, Sufjan Stevens

The indie darling’s most personal album yet moves away from the experimental electronica of The Age of Adz, taking a more stripped-down and intimate approach — which is fitting for a record influenced by the 2012 death of Stevens’ mostly absent mother. Carrie battled depression, drug abuse and schizophrenia, but Stevens recounts his past and family history with a stirring gentleness. It’s a nearly perfect album that stays with you long after the last track ends. — CG

6. Divers, Joanna Newson

Joanna Newsom’s music has always been something of a deep-sea excavation, marrying familiar relics with a world that’s largely unexplored. She sings of borrowed bones and mortality as though she’s scared of what she might find as she plucks the strings of her harp — but is still dutifully prepared to uncover whatever it may be. Newsom won’t go out of her way to make things easy for you, but that’s only because she doesn’t want to take away your fun. Divers is a lush album that will keep Newsom devotees busy even if she waits another five years to release new material. — TG

4. Reality Show, Jazmine Sullivan

Reality Show is one of those albums that makes you wonder why Jazmine Sullivan isn’t the most popular singer on the planet. Addictive, percussive beats and a timely concept (reality television in the age of Love and Hip Hop, Kardashians and Real Housewives), served up with Sullivan’s impressive vocal runs make up one of the year’s most creative works. We don’t even deserve her. — YD

3. Art Angels, Grimes

Great science fiction often blends dystopian futures with stunning spectacle, drawing you into an arresting mix of fear and wonder. Then your feelings start screaming, welcoming you to “REALiTi” with the insistence that this isn’t fiction at all. Sometimes, there’s also actual screaming.Welcome to Art Angels, the formal introduction of Grimes as public pop star and producer. It’s not a stretch to interpret these songs as otherworldly documentation of the artist’s own experiences in the music industry. Or, really, the story of any woman navigating a male-dominated field.Claire Boucher is Joni Mitchell, Mother of Dragons, informed by the ‘90s technopaganism of Buffy the Vampire Slayer and X-Files as she battles against dudes who insist they know best. “Kill V. Maim” borrows its chorus from high school cheer squads and is written from the perspective of Al Pacino in The Godfather — “except he’s a vampire who can switch gender and travel through space,” as Boucher told Q Magazine. But despite a dense catalogue of references, the album never feels heavy. Grimes is floating in space. — TG

2. E·MO·TION, Carly Rae Jepsen

Emotion is the rare pop album that reminds you why you fell in love with the genre in the first place. With an all-star roster of collaborators — from Sia to Dev Hynes — and an understated confidence taken right out of the Kylie Minogue playbook, Carly’s delivery is spot-on. From the all-out celebration of friendship in “Making the Most of the Night” to the infectious “Gimme Love,” Emotion is full of shiny hooks and standout moments that cover the spectrum. It’s refreshing to know that in 2015, the art of pop music is in top form. — CG

1. To Pimp a Butterfly, Kendrick Lamar

Kendrick Lamar has always been an emblem of something: real rap, real lyricism, real diss tracks. The mainstream success of good kid, m.A.A.d city was met with a messianic cry that declared K. Dot had brought hip hop back to its roots. It was a poetic day-in-the-life peek into Compton, chasing after Sherane, dodging Crips and Pirus. To Pimp a Butterfly has only amplified Kendrick’s reputation as the realest rapper of his generation, starting with an ambitious title that Lamar promises will be “taught in college courses someday.” Where good kid was a modern timeline, Butterfly draws heavily from the past. It’s dripped in funk (and a George Clinton feature), a haunting Tupac skit and an obsessive introspection on blackness, from the frustrated musings of “The Blacker the Berry” to the sweetness of “Complexion.” However, “Alright” has risen to the forefront, with its relentless, optimistic chorus becoming a rallying cry for #BlackLivesMatter protesters across the nation. It’s the definitive album of 2015, a masterpiece of artistic influences and depth that will be explored for decades. —YD